Key lights: more flexibility across colour, output and control 

Choosing a key light is rarely about one specification. Colour rendition, output, throw, position and control all play a part, and the balance changes from one job to the next. 

That is the thinking behind iFORTE LTX. Long-throw optics, remote control and a choice of Transferable Engines allow crews to configure the fixture around the job, whether the priority is natural-looking skin tones, output over distance or making changes without returning to the rig. 

Here are four areas where that flexibility is useful. 

Choose the right engine for the job 

Where colour fidelity and skin tones are the priority, the demands on the source can be very different from an arena, exterior or long-distance setup where maximum output is more useful. 

iFORTE LTX can be fitted with different Transferable Engines to suit those requirements. The HCF engine delivers a CRI of up to 96 for high colour fidelity, while the XP engine prioritises output. 

The engine can be selected around the requirements of the job and changed when those requirements shift, without moving to a different fixture platform. 

Return to a known source 

Continuity becomes more complicated when a scene is shot across several days or picked up later in the schedule. Even with carefully matched fixtures, the source itself remains another variable. 

A Transferable Engine can be removed, retained and returned to the production when shooting resumes. Its usage data stays with it, giving the crew a known source to return to when recreating the original lighting. 

Another engine can be fitted to the iFORTE LTX in the meantime, allowing the fixture to continue working elsewhere. The source can stay with the production without taking the whole fixture out of circulation. 

Make changes without returning to the rig 

A new camera position or reverse can change the direction of the key. On stage, the light may need to follow performers or shift between different sections of the show. 

Pan, tilt, zoom, focus, framing and colour on iFORTE LTX can all be adjusted remotely. Changes can be made from the desk, with the option to return to programmed positions without physically resetting the fixture. 

Where access is limited, that keeps routine adjustments at the desk and reduces unnecessary trips back to the rig. 

Work from further away 

iFORTE LTX is designed for jobs where the fixture needs to work at distance. Its long-throw optics allow crews to maintain useful intensity and control, whether the source is positioned outside a set, across a large venue or further back from the action on location. 

That reach also creates more freedom to keep fixtures clear of cameras, scenery, performers and working areas. 

With IP65 protection, the same fixture can work across indoor and exposed environments. 

More options within one fixture 

There is no single balance of colour, output and control that suits every job. Transferable Engines provide a choice between colour fidelity and output, while long-throw optics and remote control create more freedom around placement and adjustment. 

For crews working across film, television and live performance, iFORTE LTX provides more ways to configure the key light around the set, stage or location. 

To find out more about iFORTE LTX

For jobs that do not require the same long-throw performance or IP65 protection, explore the wider FORTE family here: [link here]. Images: Harlon Haveland.